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20120901
20120930
Search Results 0 to 15 of about 16 (some duplicates have been removed)
and its consequences." (champagne popping and yelling) in the 1950's, psychoanalysis washed over popular culture. there was an obsession with psychoanalysis, and with the meaning of psychoanalysis. psychoanalysis taught us that under the surface of life, particularly domestic life, lay a whole set of unruly, chaotic, dark feelings, tension and dark, dirty little secrets. and now at the same time, billy wilder is making movies. and i think this is important in terms of staying power. (peter bogdonavich) i think, certainly, pictures in the 50's and 60's are satirical examinations of the various archetypes. look how she moves! that's just like jell-o on springs. must have some sort of built-in motor or something. i tell you, it's a whole different sex! wilder's "some like it hot" may be the most important romantic comedy of the 50's. it was the most commercially successful, but it was also the sharpest in the way that it dealt with the way men and women treat each other. have you tried american girls? why? was that anything? thanks just the same. you should see a doctor, a good doctor. oh,
cinema box office. (narrator) in the mid-30's, the national recovery act was declared unconstitutional but it took until 1948 for the supreme court to finally put its nail in the system's coffin. it ordered the majors to sell their cinemas and function as distribution and production companies only. the classic studio era was over. paramount was the first to consent and as a result, its profits dropped from $20 million to $6 million in one year. the studios were so efficient that it was an oligarchy and the government came in and said, "no, no." it was much more efficient when the studios made movies, distributed the movies, and exhibited the movies. that ended in 1948 with the paramount decree. no more theatre holdings, no more cash flow, can't pay the overhead. (thomas schatz) you can't maintain and run the factory. when you own theatres, you knew that you had a seller. that a picture would go in and do so much money and you could depend on that. now without the theatres, you didn't have that insurance. so there was a tendency to cut back on production. when you cut back on production
. the late 1900s saw the reemergence of east asia as a world political, economic and cultural force. nearly 1.3 billion people reside in the region's largest country, china. the province of guangdong is on china's southern coast. this area has sustained extraordinary growth in recent decades, thriving as a base of manufacture for a global economy. advancements in communication and transportation facilitate globalization. containerized shipping is a cost-effective means of transporting a variety of goods. guangdong's relative location to hong kong's ports and financial infrastructure is key to determining its position at the epicenter of chinese economic development. through guangdong, we see the forces of globalization at work in the pearl river delta and beyond. many observers argue the costs and benefits, but few dispute that globalization is the most profound reorganization of the world since the industrial revolution. the driving force of globalization is economic, and at the core of the global economy is the global production system. du neng ji makes nike shoes-- one of tens of thousands
, and the other half is spread throughout the u.s. and canada. and my work is informed by these two traditions. i draw from u.s. and latin american literature, art, and pop culture. and in this sense, my aesthetics are aesthetics of fusion and juxtaposition. i juxtapose high and low culture, politics and art, religion and sexuality, english and español. [ speaking spanish ] [ rooster crows ] in the installation, we have eight velvet paintings representing other saintly idols. and underneath each painting, we have a small table with symbolic objects. these objects are part of our personal pop archaeology that represents the meeting of two or more cultures, like bart sanchez, the mexican cousin of bart simpson wearing a poncho. and then the wonderful iguana clay hamburger, which is a classic from 1960's tijuana tourist art. roberto and i were completely unaware of the pandora box we were about to open. [ rock music plays ] partly due to the profound spiritual and cultural crisis afflicting u.s. society, and partly perhaps because of america's obsession with public confession, people expressed thei
trying for many years, this region finally obtained relative autonomy in the late 1970s. ( man speaking spanish ) translator: yes, the 1978 constitution introduced the possibility of autonomous regions in spain. since that time, we have campaigned so that andalucía itself could also benefit from this type of regional power. now we can see the results. at the start of autonomy, there were 82 kilometers of toll-paying motorways in this region. now there are 1,500 kilometers, and they are toll-free. the first joint state-region urbanist project happened here. in short, the fact is that politics always manifests itself in a modification of the landscape. narration: this landscape in motril was drastically modified two decades ago. before that, this coastal plain was sand, palm trees and tourist homes. today, thousands of migrants from spain's interior have colonized this ancient desert and make a living beneath a sea of plastic. ( speaking spanish ) translator: could you explain to me the principle of this type of farming? ( man speaking spanish ) translator: well, it's simple: there is 20
march, president ulysses s. grant signed it into law. yellowstone officially became the first national park of the united states of america. the significance of preserving this vast and remote tract of land was profound. the nation, not yet a century old, was still seeking its own cultural and national identity. of the american landscape were now promoted as the country's unique heritage. the new york herald wrot "their beauty, their splendor, their extraordinary and sometimes terrible manifestations of nature form a series of attractions possessed by no other nation." three months later, moran's "the grand canyon of the yellowstone" was bought by the federal government for $10,000. the painting was hung in the u.s. capitol, a triumph for moran. soon after, he began signing his work with the monogram "t.y.m." for thomas "yellowsto" moran. yellowstone remained a source of inspiration throughout moran's career. in 1892, the artist returned to the park to create new paintings of its wonders. by this time, yellowstone was a popular tourist attraction. the idea of the national park, suggest
that happens is accessibility to stars grows. as you move into the 50's, and the studios are collapsing, you have stars not being protected by the machinery of the studio any longer. they're out on the streets, they're getting interviews that aren't controlled, television is picking them up and showing them to you, so they become more known for who they really are. their private life was another role they were playing. (narrator) when lana turner's daughter stabbed her mother's lover, the public was avid for the lurid details of a star career seemingly in trouble. what they saw televised was tour-de-force performance. i said, don't, don't ever touch me again... i'm... i'm absolutely finished, this is the end... and i want you to get out. and after i said that, i was walking towards the door, and he was right behind me, and i opened it... (john waters) with a million photographers, and she's on the stand, she is lana turner. you can't not be lana turner when you're lana turner. it was effective testimony; cheryl got off. it was so fast... i, i truthfully thought she had hit him in the stomach
to gauguin. now in his early 40s, he wrote to his wife: reader: (gauguin): may the day come -- soon, perhaps -- when i'll flee to the woods on an island in oceania, there to live on ecstasy, calm, and art. there, in tahiti, in the silence of the beautiful tropical nights, i will be able to listen to the soft, murmuring music of the movements of my heart in amorous harmony with the mysterious beings around me. free at last, without financial worries and able to love, sing, and die. narrator: gauguin landed in papeete, the tahitian capital. he arrived wearing a hat he'd picked up at buffalo bill's wild west show. but the tahiti gauguin encountered in 1891 had changed drastically from the tahiti described so rapturously by 18th-century explorers. far from france, it was also far from paradise. now a french colony, life there had been transformed by bureaucrats and missionaries -- and by the european scourges of small pox, influenza, and alcoholism. within days, gauguin's illusions about papeete were stripped away. reader (gauguin): tahiti is becoming completely french. little by little, all the
teeming with game evoked in thesebronze s. apollo, the god of learning, still brought light to the world -as a roman lamp stand. alexander the great, once master of the world, was commemorated in a bronze statuette. the powerful hercules became a garden ornament. the elite built substantial art collections. they also ordered reproductions of greek works that appealed to them. several examples of the three graces were unearthed at pompeii, suggesting a single prototype offered by workshops on the bay of naples. the daughters of zeus represent plenty, joy, and beauty. that image continued to appeal to artists and connoisseurs through the ages. the works of art they commissioned -either for their own collections or for display in public places - were in a variety of styles. some were in the naturalistic classical style that prevailed in greece from the mid-5th century b.c. onward. the drapery falls in natural folds, clinging to the body to show an understanding of human anatomy. older styles were also popular. a marble statue of artemis displays the roman ability to recall the archaic styli
. (narrator) "dances with wolves" is a story of a u.s. cavalry officer whose encounter with indians leads him to question his allegiance to his own culture. (rudy wurlizter) the whole myth of the west is that you can go out to some place and you can invent yourself. the western hero represented somebody who took advantage of this chance and could make something of it. and that could reinvent his life. so that he could go out and become a hero, not from what he was, but something totally different something totally new. (narrator) kevin costner's character emerges as a hero, but in a most unconventional situation. the audience cheers the indians as they defeat the cavalry. (lindsay anderson) the western hero symbolizes the man of honor, the good man, the man of action. and that rule is something that will be eternal in people, wherever they are. whether in america, or in the rest of the world. the kind of western hero i'd devise, doing one today, is probably very much along traditional lines. i'd try something different in the scenario, though, a different approach. (narrator) in 1992, clint e
've carved out a space that's secular through the first amendment to the u.s. constitution, and religion has then been pushed to the side and it's a private affair. so what's going to fill that space? there's no vacuum. so who knows what fills it. susanna, yeah? >> well, it was funny the way they did that, because they did separate it, and yet their allusions to god are right through the bill of rights and the declaration of independence. i mean, it's all theistically based. at the same time, they really, basically wanted to keep any group from being able to persecute any other group. so in that sense, they're separated. but i'm not sure how different it is, and maybe india's a poor example of a country who wants to preserve like its own way in the sense that they had so many languages, so many sects, so many different ways that they were not a strong nation before they had a common language, and it's too bad that it's english, but that was one good contribution that was made. the other, i think, is a kind of hindu, a brand that's more frequently spoken than any other. but when you get down
to the u.s. in 1977. since 1989, however, she's worked closely with poland's parliament developing the framework for political and economic reform. when you want to sometimes to achieve something and bring everybody together, and you want it with all the democratic notion of getting the ownership, well, you need to spread this around. you need to kind of bring the communities together, the little places together. so these are the most important people-- for me, the people in the small village are the most important people. yes, the politicians in warsaw make the decisions. but, actually, these people in the small village are going to need to eventually stand up and say those decisions are wrong and we need to change them. narrator: regulska's concern for the little places is not nostalgic but geographic. the bulk of poland's population lives in the small towns and villages, not in the more-democratized cities. rejection of democracy in these regions, then, could jeopardize the people's freedom. as a geographer, regulska knows that diffusion of democracy will depend on the barriers
, hotshot lawyer down in los angeles, and he's's on wilshire boulevard one morning, driving his old chevrolet, and he sees the car in front of him is a partner in his law firm, and it's a mercedes, and he's stuck in traffic, and he's just thinking, "okay, so i'm going to put 20, 30 years of my life into this effort being a lawyer, so that i can be stuck in traffic 30 years later in a fancier car? that's what i do? he quit the next day he turned in his papers and he went and became a monk. so something is happening, and that's why i wanted to bring this into the experiential dimension. sure. >> the question i have, they are living by themselves in a very enclosed, capsulated world and becoming satisfied religiously and spiritually within themselves, and yet he's talking about the branches and the roots reaching out to touch others. how does he do that if he stays within those walls? >> i have heard that - >> i would like to understand that. if everybody stayed enclosed and capsulated, how's it going to spread? >> i've got a story on this one, but it's the premier question for a class
- jz did tour the country in the early '80s, and there was quite a number of people that responded at that time. when the school started, it started with - i'm not sure of the numbers - but it remained pretty consistent at about 3,000 people. >> immediately they drew that many? >> i think it probably started with about 1,500, just from people that had been going over the years and wanted to get into a more rigorous training. i know i did. i mean, i was asking him, "when are we going to learn these things you've been talking about?" and so he started the school with a core of committed people. there's a core and then there's those other people that want to come because they're curious and they want to see what their friends are doing. but i think that there was a real strong core of committed people that really wanted to do this, and at a time when it wasn't popular either - i mean, when people that really wanted to do careers and have relationships. i mean, they had to make this the most important thing to really make it work, and of course the fruits can be seen now. does that ans
is that life goes on in there, and people who work in - the b.a.'s, the people who run them, have no idea - no idea of the linkages between and among the people who live there, how they look out for each other. now it's a murder mystery that happens in there - it's a great story. >> you see that? that's what i'm talking about, that we have these mental concepts that block out the flow of life. let me just quickly go through the eightfold path. yeah, just real quickly, we'll just blow right on through that, folks. but to give you some idea, first off, because the buddha has - you talked about a hosospital; dare we say a therapy? you got this illness because you're constantly thinking you're the center of the universe - well, here's the therapy. and it just cracks me up that this guy's putting all this out 2,500 years ago, and when we go through this, i'm just going to paint it in - i don't need to be sacrilegious, if we're even talking about a religion at this point - but to just paint it in a more pop way, because you can see the kinds of things he's saying - if we applied even a few of t
Search Results 0 to 15 of about 16 (some duplicates have been removed)